I love Boston. I come here all the time and play pick-up ice hockey with friends in Concord and Bedford.
I would rather fall flat on my face than try to just make a quick dollar by making music that fits into the radio format right now. It does nothing for me.
There's no way that music could ever go down the tubes. I can't imagine a civilization without music. When you realize today that music is such a part of people's lives. And will always be, really.
I am trying to walk a tightrope; trying to keep the DJ community happy while trying to spread the message about dance music to more people. That is the mission that I am on.
As a DJ, it's my job to break new music. And instead of it just being the stuff that's coming from the major labels or the big pop records, I've always gravitated to something that's just different, you know?
You can never judge any music by their audience. That's the main reason people in England have a prejudice against someone like Skrillex. You judge people by their music. That's always been first and foremost.
The Rolling Stones are violence. Their music penetrates the raw nerve endings of their listeners and finds its way into the groove marked 'release of frustration.'
When the Beatles cut old rock n' roll, they were recording music still in their performing repertoire, and besides, they never thought of the music as old.
I record all of my music with authentic instruments in a studio before we start editing, doing many, many versions. The music shapes the film as we edit so it has an organic relationship to the content.
I think the problem with a lot of the fusion music is that it's extremely predictable, it's a rock rhythm and the solos all play the same stuff and they play it over and over again and there's a certain musical virtuosity involved in it.
Music video directors, who conceive, write and direct these works, enjoy no creative rights, receive no ongoing financial benefit from the sale of our work, and many times are not even credited.
Growing up, I didn't really like folk music - I wasn't a fan of Bob Dylan. I grew up mostly listening to rap and hip-hop; it was this new form of music.
When you're editing the film, you use a temp track. So you're putting music in there for a rough cut to keep track of what's going on. It can be a hindrance if wrong, it can be an enormous asset if you get it right.
I played more of an advisory role with Public Enemy. I really trusted them to make the music that they wanted to make, and the way The Bomb Squad worked with the... they created their whole own world of music.
I learn stuff from making music every time I go in the studio. I'm continuing to try to find new ways to play in a song or be in a song and have a positive impact on a song.
I enjoy the process of composing music. The first time I hear a song, it has to bring a smile to my lips. You have to tap your feet and be able to sing the song.
I worked as a production assistant on a couple of films, and finally, I got a job at an animation studio as an editor. After that, work begat work. I got into directing music videos and commercials.
I was never attracted to the pop world. I listen to music that is pop sometimes. But I've never thought, 'Oh, I need to work with Ne-Yo now.' It's never really been my thing.
There have been a lot of people involved in the growth of EDM's support in the U.S., from DJ/producers like David Guetta, Deadmau5 and Skrillex, to major festival organisers and pop artists of EDM integrating elements of dance music into their music.
I wake up every morning literally with a smile on my face, grateful for another day I never thought I'd see.
Poetry and progress are like two ambitious men who hate one another with an instinctive hatred, and when they meet upon the same road, one of them has to give place.
